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Authors
Advisor(s)
Abstract(s)
O que ainda não tem nome é um filme de animação de curta-metragem realizado no
âmbito do Mestrado em Cinema da Universidade da Beira Interior, no intento de
obtenção de grau académico de mestre. Este relatório pretende descrever o processo
criativo e analisar o percurso pessoal para a concretização do filme.
Começo por explicar as motivações iniciais para a realização deste curta-metragem e
um pouco de história, as quais são importantes para que o leitor compreenda as
questões políticas que contextualizaram os fatos com os quais o curta dialoga, bem
como os elementos autobiográficos que contém e as implicações desta abordagem mais
intimista.
A pré-produção é abordada depois, no segundo capítulo, e nela se descreve a forma
como foi feita a recolha de material documental, a organização deste material e as
escolhas no que respeita à edição sonora, sendo o som um aspeto decisivo na obra.
Em seguida, no terceiro capítulo, intitulado “Produção”, detalho como, antes da própria
estruturação da narrativa, iniciei o desenho, o qual se uniu aos depoimentos
selecionados, bem como o momento em que foi definida a técnica adotada, a
rotoscopia, recorrendo a meios analógicos e digitais.
Ao contrário da generalidade dos animadores, ao invés de seguir o caminho
convencional de preparação de projeto com uma antevisão e detalhamento das cenas
através do storyboard, neste projeto optei por um postoryboard, um storyboard
realizado depois da pós-produção, abordagem que permitiu maior liberdade criativa e
imaginativa.
Os resultados indiretos do filme, as cenas não usadas e a vida autónoma que ganharam
são tema para o quarto capítulo. São extras descartadas ao longo do processo de
produção e que integram, e integrarão, outros projetos que, partindo daqui,
constituirão obras independentes e livres.
No quinto capítulo discorro acerca do papel do erro no fazer do filme, considerando e
compreendendo a imperfeição de cenas e desenhos como fator criativo da obra
artística. O erro, além de elemento constitutivo do processo de aprendizagem que me
acompanhou ao longo dessa trajetória, faz parte da metodologia de trabalho do filme
resultante.
Por fim, concluo relatando minhas impressões pessoais do processo e motivações, e
revelando, talvez, um pouco de raiva e tristeza.
What Doesn’t Have a Name Yet is a short animation film made within the scope of the Master's Degree in Cinema of the University of Beira Interior, in the attempt to obtain a master's degree. This report intends to describe the creative process and analyze the personal journey towards the realization of the film. I begin by explaining the initial motivations for making this short film and a bit of history, which are important for the reader to understand the political issues that contextualized the facts with which the short film dialogues, as well as the autobiographical elements it contains and the implications of this more intimate approach. Pre-production is dealt with later, in the second chapter, and it the way the collection of documentary material was made, the organization of this material, and the choices about sound editing are described, the sound being a decisive aspect in the work. Then, in the third chapter, entitled Production, I detail how, before the very structuring of the narrative, I began the drawing, which was joined to the selected statements, as well as the moment when the adopted technique was defined, rotoscopy, using both analog and digital media. Contrary to the generality of animators, instead of following the conventional path of project preparation with a preview and detailing of scenes through storyboard, in this project, I opted for a post-storyboard, a storyboard made after post-production, an approach that allowed greater creative and imaginative freedom. The indirect results of the film, not used scenes, and the autonomous life they gained is the subject for the fourth chapter. They are extras discarded throughout the production process, and which integrate and will be part of other projects that, starting from here, will constitute independent works. In the fifth chapter, I discuss the role of the error in the making of the film, considering and understanding the imperfection of scenes and drawings as a creative factor of the artistic work. The error, besides being a constitutive element of the learning process that accompanied me throughout this trajectory, is part of the work methodology of the resulting film. Finally, I conclude by reporting my impressions of the process and motivations and revealing, perhaps, a little anger and sadness.
What Doesn’t Have a Name Yet is a short animation film made within the scope of the Master's Degree in Cinema of the University of Beira Interior, in the attempt to obtain a master's degree. This report intends to describe the creative process and analyze the personal journey towards the realization of the film. I begin by explaining the initial motivations for making this short film and a bit of history, which are important for the reader to understand the political issues that contextualized the facts with which the short film dialogues, as well as the autobiographical elements it contains and the implications of this more intimate approach. Pre-production is dealt with later, in the second chapter, and it the way the collection of documentary material was made, the organization of this material, and the choices about sound editing are described, the sound being a decisive aspect in the work. Then, in the third chapter, entitled Production, I detail how, before the very structuring of the narrative, I began the drawing, which was joined to the selected statements, as well as the moment when the adopted technique was defined, rotoscopy, using both analog and digital media. Contrary to the generality of animators, instead of following the conventional path of project preparation with a preview and detailing of scenes through storyboard, in this project, I opted for a post-storyboard, a storyboard made after post-production, an approach that allowed greater creative and imaginative freedom. The indirect results of the film, not used scenes, and the autonomous life they gained is the subject for the fourth chapter. They are extras discarded throughout the production process, and which integrate and will be part of other projects that, starting from here, will constitute independent works. In the fifth chapter, I discuss the role of the error in the making of the film, considering and understanding the imperfection of scenes and drawings as a creative factor of the artistic work. The error, besides being a constitutive element of the learning process that accompanied me throughout this trajectory, is part of the work methodology of the resulting film. Finally, I conclude by reporting my impressions of the process and motivations and revealing, perhaps, a little anger and sadness.
Description
Keywords
Animação Ditadura Documentário Memória Rotoscopia